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Behaviour

Ernesto Daranas, Cuba, 2014

Eleven-year-old Chala (Armando Valdés Freire) lives with his addict mother Sonia (Yuliet Cruz). In order to provide for the two of them, he raises carrier pigeons and trains fighting dogs with a man who may or may not be his biological father. School provides a stabilizing force in Chala's life, thanks to his close relationship with his spirited sixty-something teacher, Carmela (Alina Rodríguez). When the boy is sent off to live in a "re-education facility" and Carmela mounts a campaign to have him released, she becomes the target of a witch hunt spearheaded by a school board administrator who regards Carmela's permissive beliefs as incongruent with the new Cuba. But the idealistic, strong-willed woman remains defiant and manages to recruit allies from amongst her fellow teachers, leading to a conflict in which one boy's future reflects the systemic dynamics of contemporary Cuba.
Eleven-year-old Chala (Armando Valdés Freire) lives with his addict mother Sonia (Yuliet Cruz). In order to provide for the two of them, he raises carrier pigeons and trains fighting dogs with a man who may or may not be his biological father. School provides a stabilizing force in Chala's life, thanks to his close relationship with his spirited sixty-something teacher, Carmela (Alina Rodríguez). When the boy is sent off to live in a "re-education facility" and Carmela mounts a campaign to have him released, she becomes the target of a witch hunt spearheaded by a school board administrator who regards Carmela's permissive beliefs as incongruent with the new Cuba. But the idealistic, strong-willed woman remains defiant and manages to recruit allies from amongst her fellow teachers, leading to a conflict in which one boy's future reflects the systemic dynamics of contemporary Cuba.
Duration
108 minutes
Language
OV Spanish
Subtitles
German, French, English
Video Quality
1080p
Age recommendation
12+
Available in
Switzerland, Austria, Germany, Liechtenstein
Melaza
Carlos Lechuga
Cuba
82′
Money and love worries of swimming teacher Aldo and rum factory worker Monica in Melaza, the cradle of Cuban sugarcane. With tangible love for Cuba, the director takes a fresh look at his struggling characters: you can also learn to swim in a piscina without water. In the Cuban village of Melaza, named after the once flourishing sugarcane fields, time stands still. Even when all kinds of things happen, nothing ever changes. The State pretends to take care of everything, but it shuts the rum factory and makes swimming lessons impossible. There's no use complaining, think the inhabitants, that’s just how it is. Melaza is the heartwarming love story of Aldo and Monica, a photogenic couple who live in a much too small cottage with their fat daughter and grumpy grandma. They try very hard to earn some extra money. Their attempts finally get the couple into deeper and deeper trouble. But together, the lovers manage to pull through it. New talent Carlos Lechuga tells his critical story with humour and sparse dialogue, taking us on a journey to the beauties of rural Cuba. Far from the hotels and from Havana, but with a reality familiar to everyone who has ever been to Cuba - or faced a shortage of cash. (Filmfestival Rotterdam)
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La muerte de un burócrata (1966)
Tomás Gutiérrez Alea
Cuba
84′
The story begins with the death of a model worker, who is buried with his labor card as a badge of honor. However, his widow is told she needs that card to claim the benefits she is entitled. The story then takes several surreal turns, as the family of the dead man try to recover the precious card from the grave.
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Buena Vista Social Club: Adios
Lucy Walker
Cuba
110′
Revisit with the remaining original members of the Buena Vista Social Club and explore their contribution to the unknown history of Cub
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Ultimos dias en La Habana
Fernando Pérez
Cuba
93′
Diego and Miguel are both in their mid-forties. They are living in a dilapidated apartment in central Havana without running water or any modern amenities. Miguel earns his money washing dishes in a privately run restaurant; he, his family and neighbours also care for Diego, who is bedridden on account of his HIV infection. While Diego tries to maintain his joie de vivre, Miguel becomes increasingly withdrawn. Only the two of them know about Miguel’s secret: he is planning to emigrate to the USA and is just waiting for his visa. When Diego’s condition deteriorates he is forced to go into hospital and leaves his room to his niece Yusi. When Miguel’s visa finally arrives it’s time for some surprising decisions - and not just for him. Writer, documentary filmmaker and director Fernando Pérez has based his screenplay on the lives of the inhabitants of a tenement building. The resulting film presents a vibrant kaleidoscope of emotions. Unfolding in tranquil images, this story of an unusual friendship also provides an insight into a culture in transition that requires constant flexibility and incredible optimism. A declaration of love to the Cuban capital and its inhabitants.
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Madagascar (1994)
Fernando Pérez
Cuba
48′
"I dream exactly what I live every day," a professor, bored with her mundane life, tells her therapist. But the visual evidence on screen at the start of "Madagascar" suggests that dreams are never that banal. Bicyclists crowd the street, riding to work in slow motion in a haunting, shadowy blue dawn. The 50-minute "Madagascar" has the resonance and eloquence of the best poetry, as it deftly turns an adolescent's search for identity into a metaphor for post-revolutionary Cuba. Laura is a professor at a shabby, stultifying college. Her daughter, Laurita, stops going to school, wishes to move to Madagascar and quickly races through several phases. One day, she looks like a heavy-metal fan, another like a bohemian who weeps at poetry and art. Slowly, she crosses the line from ordinary adolescent confusion to intense neurosis and beyond, finally becoming so obsessed with religion and good works that she brings 10 homeless children into the cramped house she shares with her mother and grandmother. The film's director, Fernando Perez, creates graceful scenes linked by the merest narrative thread. His compressed episodes make it clear that Laura and Laurita, pre- and post-revolutuonary women, share a desperate search for some purpose in life. When Laura looks wistfully at a photograph of herself in May 1969, it is a rare reference to her political dreams, yet Mr. Perez has created an extraordinary meditation on the lost promise of youth and revolution. (Caryn James, in The New York Times)
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Landrían Short Films (1963)
Nicolás Guillén Landrián
Cuba
85′
From 1962 to 1972, Landrían made numerous documentaries for the Cuban state film institute (ICAIC), including commissioned works for revolutionary propaganda. Landrián was a free spirit. "The system" tormented, punished and ostracized him, his work was censored. Fifty years later, part of it has been found and rescued. The initiator of this project is filmmaker Ernesto Daranas, who has dedicated a feature-length documentary to his compatriot in addition to restoring his film work: Landrián. The restoration of Nicolás Guillén Landrián's documentaries brings to light his lost legacy and the dark truths about the censorship of his work by the Cuban revolution. trigon-film and filmingo present the following 7 short films: 1. En un barrio viejo | In einem alten Viertel | Dans un vieux quartier -1963 – 9' 2. Los del baile | Die Tanzfreudigen | Ceux qui aiment danser - 1965 - 6’27 3. Reportaje Plenaria Campesina | Reportage Bauernversammlung | Reportage à l’assemblée paysanne - 1966 - 9,53’ 4. Ociel del Toa | Ociel vom Toa | Ociel du Toa - 1965 - 16'28 5. Un festival | Ein Festival | Un festival - 1963 - 10,12' 6. Coffea Arábiga | Kaffee Arabica | Café Arabica - 1968 - 17'37 7. Taller Claudio A. Camejo de Línea y 18. | Werkstatt Ecke Línea und 18 | Atelier à l'angle de Línea et 18 – 1971 – 14’55
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